Task 5

Brief:

“152MC

Task 5

In 250-300 words, revisit your Easter holiday research homework and discuss if and how your understanding of light has changed during this module. In an additional, but separate 250-300 words, critically reflect on how your practice has developed during this module.

Your final writing for task 5 needs to evidenced on your archived blog and handed in as part of your final submission for 152MC on May 21 at 4pm, along with a coversheet (NB coversheets can be downloaded from the 152MC moodle homepage).

If you fail to hand in this task as part of your assessment, your grade will be affected. If your work is deemed of a low standard you will have an opportunity to resubmit your work. In which case CM will discuss this with you directly, NB submissions are capped at 40%. If you are unable to meet the deadline you can apply for an extension via the administration department. CU you has a strict policy on hand in dates, extensions are only given in extenuating circumstances and will need to be supported by 3rd party evidence.
Please see Clare Jeffs in reception if you need to apply for an extension. ”

Easter Holiday Research – Critical Reflection:

At the beginning of this module “Working with Light” we were set an Easter task to collect images with interesting uses of light. This research lead me to see how creative light can be, and how a photographer can use light to be imaginative in their own work. We were also set a task to make a pinhole camera, which looks at the basics of photography, this was useful as we could see how light works to create a photograph. This meant that I now had the ability to see where technology has lead us and how much control we have over the lighting of our images now, for example Tim Walkers image from my easter task (https://jstonelyphotography.files.wordpress.com/2013/04/images.jpg) or this image of the car headlights and break lights swirling in and out of the town (https://jstonelyphotography.files.wordpress.com/2013/04/10213_amazing-photography-3.jpg).

During Easter when I was researching these images I took for granted the setups of the light, I didn’t consider how these creations were made. I saw the effect on the image and considered my emotional response to the work, rather than the hard work and deliberation over the lighting that the photographer had to consider and pre-visualise. When I look at an image now I no longer take the lighting for granted, I realise that the photographer made these decisions and considered how they would affect the image. It is important for photographers to pre-visualise and know what their photograph will look like before they have even taken it. The photographer should know what they want an image to look like and to be able to set up the lighting to reach this desired affect, for example when taking this image the photographer would have planned to take a silhouette (https://jstonelyphotography.files.wordpress.com/2013/04/silhouette-photography-contre-jour.jpg).

The images I looked at over Easter still interest me in their use of light. I would like to develop my skills and work towards creating lots of different lighting scenarios, like I looked at in my Easter research, I would particularly like to re-create the lighting in Tim Walkers photograph (https://jstonelyphotography.files.wordpress.com/2013/04/images.jpg). I have a broader and deeper understanding of light along with its limitations and its abilities to create. By applying lighting concepts to professional photographers work I now have a deeper understanding of the main concepts of lighting and its creativity.

 

152MC Module – Critical Reflection:

 

This term we were set small tasks rather than larger assignments; I personally found this more of a challenge at first as I found it hard to manage my time. I prefer longer larger assignments, which I can spend time developing, rather than having to think about many different tasks at once. However I pushed through and developed on my professional practice skills.

Task 1 was to create a manual on lighting and pinhole photography, this was helpful as I could write my notes up and create a video and a booklet. This resource that I have made will help me in the future whenever I am pre-visualising my lighting for an image.( For further information see https://jstonelyphotography.wordpress.com/2013/04/20/forum-good-and-bad-instruction-manuals/)

Task 2 was a pinhole camera task; we had to photograph a non-space devoid of human presence. I challenged myself on this task, and decided on indoor images, this was harder as there was less ambient light, which meant I would have to use a longer exposure. I am proud of the final set; the final outcome has a narrative and the images work together well.( For further information see https://jstonelyphotography.wordpress.com/2013/05/04/task-2-pinhole/)

Task 3 was to take a portrait and object shots to show someone’s personality. I challenged the representation of a portrait; the silhouettes add mystery to the images, I illustrated personality through the objects instead. I looked at Yohji Yamamoto Red Bustle by Nick Knight for inspiration, as I wanted to create similar silhouette lighting.( For further information see https://jstonelyphotography.wordpress.com/2013/05/04/task-3/)

Task 4 was to enter a photography competition by Severn Water; I enjoyed working from a brief, as I had to understand what style of imagery they wanted submitted. On the day of the trip the weather was bad so I found it difficult to take aesthetically pleasing images. However I persevered and faced the challenge, I am now extremely pleased with my entry.( for further information see https://jstonelyphotography.wordpress.com/2013/05/08/task-4/)

These tasks have developed my organization, research and planning skills; they have also helped my communication with models, and strengthened my lighting and shooting skills. I now pre-visualise and think about my photography more, as I realise that it will save time, and create better imagery if I do this. One piece of advice I took from Michael Collins lecture was to ‘look, feel then think’, I have taken this on board and now take time to take in my surroundings and see what effect I can create from them. All these skills have helped me grow as a photographer and work in a professional manner.

 

Advertisements

Task 4

Brief:

“152MC 2012/13

Task 4

Applying the knowledge already gained in the class workshops and previous tasks you are required to follow a pre-defined competition brief for Severn Trent Water. Details at http://www.stwater.co.uk/photocomp
You will need to follow the link to familiarise yourself with the terms and conditions of the competition and note the submission details and final submission date of May 31st.
Completing this task with demonstrate you have achieved the editorial skills to follow a set brief.

The class will be visiting one of the local Severn Trent reservoirs on May 14. You can revisit the site or another Severn Trent water site at another point to improve on your initial shoot if you wish to.

You will need to submit at least two images to the competition (by the competition deadline) and 2 – 5 images for the final assessed submission (Your assessed submission can be in a digital format) for 152MC by May 21 at 4pm, along with a coversheet (NB coversheets can be downloaded from the 152MC moodle homepage) together with your archived blog.

Failure to submit your work to the competition and for your assessment will affect your final mark. If your work is deemed of a low standard you will have an opportunity to resubmit your work. In which case CM will discuss this with you directly, NB submissions are capped at 40%.

If you are unable to meet the deadline, you can apply for an extension via the administration department. CU you has a strict policy on hand in dates, extensions are only given in extenuating circumstances and will need to be supported by 3rd party evidence.

Please see Clare Jeffs in reception if you need to apply for an extension. ”

“Severn Trent Water Visitor Site calendar photography competition

1. Terms of entry

Entry to the competition is free. Starting date for entries is 4 March 2013. Closing date for

entries for inclusion in the Severn Trent Water (STW) 2014 calendar is 31St May 2013.

Entries will not be considered after this date.

It is the responsibility of each entrant to ensure that they have read and abided by the

Competition Rules set out below.

By submitting an entry, each entrant agrees to the Competition Rules and Digital guidelines,

and warrants that their entry complies with STW’s requirements.

Any entry found not to comply with the Competition Rules will be disqualified. In such

instances, any prizes will be forfeited.

The decision of STW on all matters relating to the Competition is final and binding. No

discussion or correspondence will be entered into.

2. Who can enter?

The Competition is open to anyone, including those involved in its organisation or employees

of STW.

STW cannot be held responsible for emails that do not arrive due to an entrant’s email

security settings or restrictions placed by their Internet service provider. Entrants must

ensure that their computer or other electronic device accepts emails from

visitor.sites@severntrent.co.uk.

3. What to enter

Each entrant may submit a maximum of five (5) images into the Competition. Photos must

have been taken at a STW Visitor Site. A list of sites can be found at

http://www.stwater.co.uk/leisure-and-learning.

Photography subjects can include, but are not limited to:

 Animals in their environment

 Animal portraits

 Plant life and vegetation

 Landscapes

 Waterscapes

Photos may be submitted in either full colour or black and white.

As photos will be taken whilst on a STW site, the photographer must not attempt to gain

access to restricted areas nor place him/herself in danger, in an attempt to gain a particular

image.

Freshness, originality, creativity and innovation are at the core of the Competition and should

be reflected in all images that are submitted.

If you plan to enter an image that has been taken before the starting date of the Competition,

it should not have been taken more that twelve (12) months previously.

Entries must be digital files, emailed to visitor.sites@severntrent.co.uk. An entry form must

be sent for each photograph submitted. Please write STW Calendar 2014 Competition in the

subject box.

Images can be submitted as JPEGs, TIFFs or equivalent and must be saved at a file size of

no more than 5mb. Entrants must be able to supply the RAW file, original JPEG or original

file for any image short-listed upon request.

Images must be sufficiently high resolution to be printed, without loss of quality, to A3

exhibition standard. As a guideline, your camera will need to be 6MP+.

Minor digital adjustments are allowed, such as levels, curves, contrast, colour, saturation

and sharpening. However, the image must still be a faithful representation of the original

scene. Composite and multiple exposures are NOT allowed, nor the adding or removing of

subjects into or from the image.

It is the responsibility of the entrant to ensure consent to the image being entered into the

competition, is obtained from any person whose identity can be determined from the image.

STW will not be held responsible for reproducing any photograph that has been taken

without consent of those involved. Proof of consent should be sent to STW at the time of

entry.

4. What NOT to enter

 Staged or posed images of your family.

 Images of family pets or farm animals or cultivated plants.

 Images of restrained animals

 Images of animal models or any other animals being exploited for profit

 Images of captive animals

 Images created using live bait.

 Images that have been placed within any national or international competition at the time

of entry.

5. Ethical Standards

Any breach of the below Ethical Standards will also constitute a breach of the Competition

Rules.

Entrants must be mindful of the welfare of animals and safe-guarding the environment and

ensure that they do not do anything to injure or cause distress to any animals or destroy their

habitat in an attempt to secure an image.

Entrants are responsible for ensuring full compliance with any national legislation, for

example in the case of protected species, securing any relevant permits which may be

required, and should be available upon request by STW.

Caption information supplied must be complete, true and accurate.

If STW suspects that an image has been achieved through the use of cruel or unethical

practices, the entry will be disqualified and STW reserve the right to report the entrant to the

applicable authorities.

6. Judging the competition

STW will appoint a Jury comprising a Chairman of the Judges and the Judges. The Jury will

include representatives of STW as well as photographic and creative experts independent of

STW.

The Jury will be required to agree to terms of conduct consistent with ensuring the spirit of

the Competition is maintained throughout.

Judging will comprise three (3) rounds of critical evaluation and will take place between 1

June 2013 and 15 June 2013.

All entries will be judged so that the Jury and Judges do not know the identity of the person

taking the image.

Twelve (12) winning photographs will be chosen in total, with one (1) of those photos being

selected as the overall winner of the grand prize. Winning entrants will be informed by 21

June 2013 by email. If you do not hear from STW by this date then your entry has not been

successful.

7. Competition prizes

Entrants who have, in the opinion of the Jury, submitted a winning photograph, will be

notified in June 2013 and will be invited to attend a special Awards Ceremony at Severn

Trent Centre, Coventry, where the winners will receive their prizes.

The prize package will include:

 £200 Amazon vouchers

 Ten (10) copies of the final printed calendar

 Their photo to be showcased by STW.

The grand prize will consist of a weekend break at a Forest Holidays site (or similar). The

holiday must be taken by 31 December 2013, excluding school holidays and bank holidays.

8. Publicity

All entrants agree that if their entry is awarded, they will participate in related publicity and

consent to the use of their name and likeness for the purposes of advertising, promotion and

publicity of the Competition and Exhibition without additional compensation.

9. Copyright and reproduction

Each entry must be the original work of the entrant and must not infringe the rights of any

other party.

Each entrant must either be the sole owner of the copyright or have secured the written

permission of the copyright owner to enter the image into the Competition and grants STW

the rights detailed below.

The copyright in all images submitted to the Competition will remain with the copyright holder

who will be credited in accordance with the Competition’s guidelines (e.g. ©photographer’s

name).

By entering the Competition, each entrant grants to STW a non-exclusive irrevocable licence

to reproduce, publish and communicate to the public by any means and exhibit their

awarded image(s) and copies of their awarded image(s) in all media throughout the world in

relation to the Competition and the Exhibition including but not limited to all use in the

context of:

 Judging the Competition

 Display in the Awards Ceremony

 Display in the Exhibition

 Inclusion in the calendar and/or similar

 Inclusion within the STW’s Websites, including within interactive elements associated

with the Competition and/or Exhibition available for viewing or download from the STW’s

Websites

 Inclusion in promotional, press and marketing materials associated with STW’s Visitor

Sites, the Competition and/or the Exhibition

 Inclusion in merchandising associated with the Competition and/or the Exhibition

In some of the circumstances above, commercial opportunities may exist for awarded

photographers to benefit from the use of their image: where a commercial benefit is likely to

arise, permission will be sought in advance, and terms and conditions will be agreed.

Winning images may be used by STW for a maximum period of eighteen (18) months from

announcements and thereafter may keep the awarded images within an archive (electronic

or otherwise) for a further period of five (5) years, after which permission will be sought from

the photographers should STW wish to further use their images.

10. Liability

Proof of electronic submission is not proof of receipt by STW.

STW regret that they cannot accept liability for any loss or damage of any image entered into

the Competition howsoever caused nor for any other loss or damage resulting there from.

STW regret that they cannot accept liability for the misuse of images and/or failure of any

third party to comply with the Competition’s Rules.

Non-winning digital images entered into the Competition will be retained and archived for the

purpose of future reference to the Competition.

11. Data protection

The personal data of entrants will be managed by STW in accordance with the principles of

the Data Protection Act 1998.

STW will collect personal data about entrants from their registration form and as otherwise

provided in order to administer the Competition and/or all associated activities as outlined

above.

STW will use data collected at registration to contact entrants about future Competitions. It

will not be shared with any other third party.

Entrants may contact STW at any time to update their details and/or preferences regarding

permitted use of their personal data. If you wish to change your contact details, please

contact visitor.sites@severntrent.co.uk.

12. Charitable Donation

All profits made from the sale of the calendars will be donated to our chosen charity

WaterAid.

13. Organiser’s Details

Severn Trent Water Ltd

PO Box 5310

Coventry

CV3 9FJ”

Slideshow of my Favourite Images from the day:

This slideshow requires JavaScript.

Images to be assessed and submitted to the competition:

DSC_2944edit

DSC_3042edit

DSC_3144edit

DSC_3197edit

Final Images by Jenny Stonely

Final Images by Jenny Stonely

Conclusion:

When I first received the brief  I wasn’t sure what sort of images I would be taking, I tried looking up where we were going however we were only given the details that we would be visiting one of the Severn water areas, there was no details of which one. I enjoyed working to a brief, as I had to understand what style of imagery Severn Water wanted. On the day of the trip the weather was bad so I found it difficult to take aesthetically pleasing images. However I persevered and faced the challenge, I am now extremely pleased with my entry.If I had more time before the deadline I would have revisited on a sunny day, as it would be interesting to see if the images would be better. My images for entry seem to suit the calendar month of April, as they contain the rain; april showers.

Michael Collins Lecture and workshop

Michael Collins

 

Started with an old camera shop story

Old stock, Old man, nice man

Photo taken on Coronation day in Tenby

Local picture, group portrait

Let him borrow the glass plate, to make his own copy

Very kind and trusting

Flat bed scanner and scanned it

Looked at it closely

Wasn’t just any group portrait

A load of people turned up, on a special day, all in their best clothes

The details are amazing, even women held up their dogs so they were in the picture too

Presenting themselves to the camera

Photography is a fantastic imprint of life

True photography takes a trust between the model and photographer

Open the lens and take a picture of whats there, about life, and the truth

Family photography

City Scapes:

How cities develop over centuries

SW from Barbican 2009

by Michael Collins (click to see link)

He prints large, so that he can look at the details

The marks made by man over the years

Exploring individual parts of a picture

Always more to look at

More associations

A photograph will take so much more details then you would ever be able to take in at the time

Battersea Power station, Looking southwest over Battersea in London

Michael-Collins

by Michael Collins (click to see link)

Amazing detail

Before photography, we relied on draftsmen, photography is much cheaper, and far more detailed and accurate

Factories:

To look around, and see what fascinates you

Take images that fascinate you

This becomes the workers habitat, workers spend longer here than at home

Hockley Factory No.1 2005_0

by Michael Collins ( click to see link)

He likes images that are like a wednesday afternoon, something slightly routine and dull

The ordinary

Factory bellow, sold to Chinese company

Factory worker: could feel his heritage being taken away

-The worker wondered why he didn’t come to photograph the factory, when it was a working factory

-He answered that he respects that he didn’t want the picture made, but please respects that others do, that in the future it will be a good thing that I took this image now

-I respect your wishes, please respect mine too

The after math and the traces that remain afterwards

Rover. Powertrain, Longbridge. 2006_0

by Michael Collins (click to see link)

Brick yard, just outside Bedford:

Misty Winters day

Brickyard triptych (left) 2008

by Michael Collins (click to see link)

Jaguar Factory: (below)

Still foot prints and hand prints, the marks

we cant turn our environment into a machine, we are too messy for that, we leave our traces

Jaguar No.1 2006_2

by Michael Collins (click to see link)

Hoo Peninsula:

Best images taken at low tide, otherwise there would be less on view of the boats

Has been said to be “romantic” imagery

Waited till the winter to take his images

He realised they were very similar to the landscape pictures of the very end of the 18th and beginning of the 19th century

John Constable coming through

Image2199a

by Michael Collins (click to see link)

Image2199b

by Michael Collins (click to see link)

Hoo_St_Werburgh_No3_2011

by Michael Collins (click to see link)

Hoo_St_Werburgh_No_4_2011

by Michael Collins (click to see link)

His friend took his family to a lightning field sculpture in America

“We went to look at art, and ended up looking at life”

He makes his photographs because they interest him

He wants to explore a subject, because he is fascinated himself

Access is always an issue:

That’s why I work with museums and galleries; it gives you some sort of official business to be there. It cost the company money because they need to control and escort you, and they don’t like that.

I particularly like it when there is no issue of access, which is why he likes “who”

Free access

Even cityscapes you have to pay to get to the top of the building

Make the odds work for you, where it’s accessible

Access has to be accessible so that you can work freely without feeling you are being watched over your shoulder

Extremely expensive way to work, with glass slides

Sometimes he takes 1 picture on a visit

You can see formally and compositionally what you’re going to get, you compose before you take anything

A plate camera gives him a terrific sense of engagement

Taking a photograph is an understanding between the photographer and the model

Nearly always the best photographs that are taken are of close friends or family as here is a recognition going on in the picture.

Workshop, 5×4 plate camera, group portrait:

The film slides have to be loaded in the complete darkness. Simply slide the protector out of the tray, place the film inside and replace the protector into the tray.

DSC_0141Set the pose…

Attach the camera to the tripod using the quick release, and check that it is steady.

DSC_0113

DSC_0119

Loosen the fixing, and lower the bellows, and fasten

DSC_0118

Attach lens…

DSC_0125

DSC_0126

DSC_0128

DSC_0104Remove the back…

DSC_0131

DSC_0121

Make sure that the red dot in the image above is just covered…

and make sure the camera is level…

DSC_0146

DSC_0145

DSC_0148

attach the shutter release…

DSC_0099

Cover the photographer and back of the camera with the hood, and use the front wheels to focus the camera…

Make sure the lens is open, using the lever on the front of the camera…

If the camera isn’t level, the focus will be strange, and focus on parts of the image, for example the left but not the right…

DSC_0137

Close the shutter. using the lever at the front of the camera..

Having taken a light meter reading, and set the camera to the right settings…

Keeping the camera completely steady (otherwise the photographer will have to refocus), load the films slide tray, and remove the front film cover…

DSC_0159

Using the shutter release cable, release the shutter and take the image…

Afterwards replace the film slide cover, making sure to mark it so that you know that side has been used…

Turn the slide over and use the other side…

Afterwards remember to always replace the covers…

You can then take the slides and develop them in the darkroom.

Photographs by Becky Woodall

The whole experience opened my eyes to slide photography, these cameras are extremely difficult to use and get right, however the detail that you can achieve with them is outstanding and worth the time learning.

Task 2: Pinhole

Brief:

“Using your pinhole cameras, task 2 requires you to investigate photographically, the personality of an open place/space when it is devoid of human presence.

You will have little control of the light with your hand-made (pin hole) camera so you will have to test and learn how it interprets the world. As the pinhole camera is relatively rudimentary equipment, (unless you make a more sophisticated version) this task will help you to achieve the learning outcome of appropriate pre-visualisation skills. Through your tests, you will learn to understand how your vision is transformed into an image and a permanent negative can be created.

Reflect on the personality of place/space you are representingp(it may be a public space where people convene or a more private space) and how it is momentarily transformed when it is populated by certain individuals or groups of people and consider how you can document this ‘non’ space (Auge 95).

Your submitted work must be original to you. Using your acquired printing skills to enhance your assessed task, you will need to submit 2 – 4 final photographic prints which represent the space you are documenting. Remember this task is part of the assessed work for this module so you are advised to spend time building on and improving your initial starting point.

Your finished artefacts and a digital copy (on disk) will need to be submitted as part of your final submission for 152MC on May 21 at 4pm, along with a coversheet (NB coversheets can be downloaded from the 152MC moodle homepage) together with your archived blog.

If you fail to hand in this task as part of your assessment, your grade will be affected. If your work is deemed of a low standard you will have an opportunity to resubmit your work. In which case CM will discuss this with you directly, NB submissions are capped at 40%. If you are unable to meet the deadline you can apply for an extension via the administration department. CU you has a strict policy on hand in dates, extensions are only given in extenuating circumstances and will need to be supported by 3rd party evidence.
Please see Clare Jeffs in reception if you need to apply for an extension.

Reference
Auge M (95) Non Spaces, Verso Publishing UK
In which Auge investigates the profound alteration that has resulted from our invasion of non-places. ”

“In an essay and book of the same title, Non-Places: Introduction to an Anthropology of Supermodernity (1995), Marc Augé coined the phrase “non-place” to refer to places of transience that do not hold enough significance to be regarded as “places”. Examples of a non-place would be a motorway, a hotel room, an airport or a supermarket.”

(http://en.wikipedia.org/wiki/Marc_Augé)

Research:

-Human Presence Traces in Forest by Jan Bigas

Human Presence Traces in Forest byJan Bigas

Human Presence Traces in Forest by Jan Bigas

I was interested in this body of work, as it covers , “the personality of an open place/space when it is devoid of human presence”, which is what my brief was also about. Having looked at the work I came up with my own thoughts and ideas on what I could do for my own brief. Instead of looking at human presence in the forest, I wanted to look for the traces and clues of what events have taken place in a “non-space”.

rosie-leventon

Environmental Art Installations and Drawing:

by Rosie Leventon (click to see link)

by Rosie Leventon (clcik to see link)

I was captured by these installation pieces as they were completely unique to anything I have seen before. I like the physical attribute to her work, in exhibition the viewer would be able to experience the shear size of the work, and fully absorb the situation and experience. After speaking about the Sutton Hoo Burial ship Rosie Leventon said, “even more wonderful than these objects was the negative impression of the ship itself, and that somehow it was more powerful in its absence.” I will use this as a starting point for my own imagery…what leaves behind an impression?

I want to explore how a space can go from being the hub of attention and energy, to being rejected and abandoned, a “non-space”. From the night before the buzz of people, to everyone stepping back and not wanting to tidy up. The bottle of alcohol being so important the night before, to now being nothing, left on the side, its empty now, its no use. The mess; the human traces left behind. A room transformed from the social hub, to an empty space.

I want to explore this through motion, the energy of the night before caught in the motion of people moving around. Then the stillness the day after, everything is still, as it is left abandoned, and untouched. The energy lost, the motion of people has left, and we are left with a still abandoned space.

Scan0096

Paper negative, Red xmas tine camera, 1hr30mins exposure, spot lit

Scan0100

Positive, test strip

Scan0102

35 secs enlarger exposure, dodged the centre of the image, and burn the outside, to create a larger black background

Scan0098

2nd bottle still life, other xmas tin, 1hr10mins, not enough light, needed a longer exposure

Exploring motion, and how it can be captured:

Scan0097

Street Phoenix, Red xmas tin, 3 apertures (overlapping images), extremely sunny day, 10 secs exposure

DSC_1605

Bottles on desk, surrounding the red xmas tin camera, 3 apertures (overlapping images), roughly 2hrs, spot lit, and moved light source half way through to the other side

DSC_1606

This is what happens if you don’t use the glass to hold the prints down in the darkroom, when creating a positive from a negative, No focus

DSC_1607

Test strip of correct exposure on enlarger

DSC_1608

Exposure of 45secs under enlarger

The still life setups doesn’t show what I wanted to explore in my images. Therefore I am going to try a different setup. I am going to place the camera further back, and take a photograph of the whole “non-space”. I will capture more of the surroundings, rather than just the bottles. The images I have produced above are practices, and will have helped me perfect my technique.

The setup I plan to do now will show the comparison of the space with energy and motion, and then the still abandoned space afterwards. I have pre- visualised that the people in the photograph will appear as a blur, as at a party people move around alot, this will be caught on the long exposure of the pin hole as motion blur, I feel this will create the busy energy I require. The other photographs I will take the morning after will be of low energy, and little motion blur, these images will appear sharper, however the mess will be clearer. Everyone has left, it is a “non-space”, no one wants to clear up, the excitement has been left behind from the night before. The space will have transformed.

DSC_1609

Paper negative, positive test strip, image 40 sec exposure on enlarger (2.8 aperture enlarger setting)

DSC_1613

Paper negative, positive test strip, positive image 40secs exposure on enlarger (2.8 aperture enlarger setting)

Paper negatives, low light , Under exposed, longer needed for the low light settings, 2hours not long enough

Paper negatives, low light , Under exposed, longer needed for the low light settings, 2hours not long enough

Paper negative, not very clear

Paper negative, not very clear

Paper negative, not very clear

Paper negative, not very clear

Paper negative, appear to be soft focus

Paper negative, appear to be soft focus

Pinhole development:

This slideshow requires JavaScript.

 

Final Piece:

DSC_1643edit

Conclusion:

For this task I have challenged myself, by deciding to take indoor images, this was harder as there was less ambient light, which meant I would have to use a longer exposure. I am proud of the final set; the final outcome has a narrative and the images work together well.

In the first image there is an open door, which symbolises people are yet to arrive, this leads on to motion blur in the images, symbolising the energy and life of the party. The last image looks at the stillness left in the morning, the focus on the mess, the space has become a non-space. Everyone has left, only the mess remains. The narrative shows the viewer how the room goes from an empty still space, to becoming hectic and busy. The series works well as it has a clear beginning and end, the last image brings instant calm, everyone has gone. This could also symbolise the levels of alcohol drunk, from a hazy night, to realisation in the morning. There is clarity at the beginning and end, with the three images in the middle telling the rest of the story. Even though the brief stated 2-4 images, I chose to submit a final piece with 5, as taking one of the photographs out would have upset the narrative. I spoke to my tutor about this and explained why; she said that submitting 5 images would be fine.

I can remember having made a pinhole camera at sixth form, and I knew how hard it would be to get a successful image, exposure time is different for each camera. Exposure times are quite difficult to figure out, this takes a lot of time and experimentation, I also used a log book to help me remember what worked and what didn’t. This was a challenge however I persevered. I took it upon myself to make a number of different pinholes, these all worked well in different conditions. I learnt quickly from my log book which to use and when.

I feel that my final piece frames my photographs nicely in a series, however if I had more time I would professionally mount them, in window frames. With the amount of time I had I feel that I demonstrated how I would mount them, however I used card rather than a professional mount board.

Looking back at my final piece I am particularly pleased and think that it illustrates a non-space and the idea of a space with and without human presence.

Task 3

Task 3

” Applying the knowledge gained in the technical lighting workshops and the pre- visualisation techniques learnt, in task 3 you are required to interrogate representation through portraiture.

Taking into consideration the appropriate lighting and location, you are required to create a photographic portrait series to represent one person in 5 images, two portraits and three objects. Your interpretation of this brief can be as broad as you like but the images need to cohesively fit together and should collectively increase the audience knowledge and/or understanding of the person represented.

Using your acquired printing skills to enhance your assessed task, you will need to submit 5 final photographic prints which represent the person you representing. Remember this task is part of the assessed work for this module so you are advised to spend time building on and improving on your initial starting point. Your submitted artifacts must be original to you and should communicate your unique vision of the world.

Your finished artifacts and a digital copy (on disk) will need to be submitted as part of your final submission for 152MC on May 21 at 4pm, along with a coversheet (NB coversheets can be downloaded from the 152MC moodle homepage) together with your archived blog.

If you fail to hand in this task as part of your assessment, your grade will be affected. If your work is deemed of a low standard you will have an opportunity to resubmit your work. In which case CM will discuss this with you directly, NB submissions are capped at 40%. If you are unable to meet the deadline you can apply for an extension via the administration department. CU you has a strict policy on hand in dates, extensions are only given in extenuating circumstances and will need to be supported by 3rd party evidence.
Please see Clare Jeffs in reception if you need to apply for an extension. ”

Having taken part in the class workshops and practised outside of University with my friends I am now comfortable using the lighting equipment. I have been able to experiment with my ideas and create my own lighting set ups. The light diagram creator is a very useful tool to document the setup; my lighting diagrams will come in useful when I try and replicate these setups.

Generating Ideas:

DSC_1603

The library directed study task(see below) helped me develop my ideas for this task:

Library Task Directed Study:

Following the Library session I was set a small task to write a review illustrating a 4-degree connection to a body of work that interests me. This should start with a body of work which uses or implements light. For this reason I have started with the book I looked at in class, “New York” (1954-55) by William Klein. Klein is known for photographing Taboo subjects, I chose to focus on chapter 4, a series looking at children with guns. The lighting for these images were full of contrast, using highlights and shadows through out. The lighting stays fairly constant throughout the work, highlighting where the focal points of the images are. In the fourth image of the series (fig.1) the highlights draw the attention to the gun, then your eyes draw backwards, your 2nd thought is to the little boys face, we realise its taboo, as it’s a little boy with a gun. It is an innocent action, and little boy playing, however it has a sinister feel as it gives an idea of the future, the boys will think this is normal, is playing with guns okay? The little girl playing in the shadowy background tells the viewer it is just play; however the sinister connotations are still there. William Klein uses these lighting effects to draw attention and create a focus to the taboo subjects he has photographed.

Here is a link to a video by “Moms Demand Action For Gun Sense In America”, (http://momsdemandaction.org/moms-demand-action-video/). “Moms Demand Action” is an American Organisation foundered for action to be done now, “formed in the wake of the devastating mass shooting at Sandy Hook Elementary School in Newtown Connecticut”. Their video uses similar lighting techniques for effect; the dark background creates an eerie feel to the video, along with the highlights across the gun, the light hitting and drawing attention to this terrifying weapon. This video uses close up angles to illustrate that this person with the weapon could be anyone, the anonymity of the gunman makes the video sinister and demonstrates the lack of weapon ownership laws. Americans have the right to own a gun; “Moms Demand Action” want to bring in more controlled laws on such weapons, such as “background checks for all gun and ammunition purchases. Report the sale of large quantities of ammunition to the ATF, and ban online sales of ammunition”.

Letizia Battaglia is a photojournalist born in Sicily in 1935. She is most famous for documenting the brutality of the Sicilian Mafia. Her photography links to the subject matter of both the previous photographer mentioned, and demonstrates the chilling truth behind gun crime. Letizia Battalia has often found herself visiting and photographing up to 5 murder scenes a day, “Suddenly,” she once said, “I had an archive of blood”. This image (fig.2) shows the transition from innocent play as a child to something a lot more sinister and serious. The child realizes that it is important to hide your identity, which is why they have covered and distorted their face with material. Perhaps the white jumper illustrates innocents, however the grip on the gun says otherwise.

I chose to look at the painting, “Black Mirror” by David Nipo (fig.3) because of the use of light for effect, hiding part of the face in shadow. I wanted to look deeper into disguise and masking, like the child used in Letizia Battaglia’s imagery, and the idea behind a hidden identity. The lighting from above gives this painting by David Nipo a sinister and mysterious ambiance. The darkening of the eyes and other features forms a shadowed mask to disguise and conceal him. The work reflects the differing personalities and artistic approaches, of Nipo’s and his colleague Aram Garshuni. In this case I think the dark disguise has been used to take away personality.

Having completed this task I can see how research can create connections to other works, drawing comparisons and thematic/aesthetic similarities. It has helped me broaden my researching techniques and ability.  Although my work isn’t designed to look sinister I would like to hide identity using lighting techniques such as silhouetting and shadows, I want my images to be formed of hidden identity portraits, with the clues of the persons personality in the objects I choose to photograph along side.

fig.1

by William Klein (click to see link)

by William Klein (click to see link)

fig.2

fig.3

by Letizia Battaglia (click to see link)

by Letizia Battaglia (click to see link)

fig.4

by David Nipo (click to see link)

by David Nipo (click to see link)

Here are a few images that I sourced to inspire my ideas of objects and portraiture:

(Bibliography of these images appears at the end of the post)

Matt Owen:

-Matt with Harrier

-Matt playing flight simulator

-Controller

-Boots, Beret, Flight suit, badges, camouflage

Other Ideas:

Perhaps silhouette of person…

Studio, side profile and front of person

Or on location

Or whole body

Objects silhouette…

Shoes ( stilettos)

Pairs Idea:

Matt saluting silhouette,

Matts combat boots/ beret badge silhouette

Girl silhouette (perhaps kerrie smoking in tunnel)

Girl High heels (perhaps leg flick, like kiss)

Kerrie object ideas:

Dream catcher, heels, maybe something to do with music

If I was able to alter the brief I would have taken photographs of 3 people and taken a silhouette portrait and a silhouette object. I like the idea that the viewer can’t quite tell who the people are, and the objects are clues; this would have worked well with different people, rather than just one, as then you could match them up. However I could use this idea in the future and develop it further, but for now stick with just one person and develop the idea of taking 2portraits, and 3 objects as clues.

There is a mystery of the silhouetted person, the viewer is wondering “who are they?”, and then they are given 3 clues to represent that person and their identity. I like the idea of hiding identity in the portrait and displaying it in the object. Normally people go by what people look like, however I want to explore what makes that person who they are, using objects that represent them. I want my work to have an atmosphere of mystery.

Identities are hidden for people safety, and are used in news reports etc. Here are a few sources that have inspired me, I want to create my project around hidden identity and silhouette.

Identity hidden image (click to see link)

Identity hidden image (click to see link)

Video link:

http://www.wdrb.com/story/21979160/police-brutal-attack-at-louisville-movie-theater-sends-one-to-hospital

Pre-visualisation:

If I create all of my images with back lights then they will work well as a set/series. I want to lighting to link the images together, as this lighting setup will make my work a mystery. I like the idea that the viewer will have to concentrate on my work, they will have to look closer to figure what the images are of if they are all silhouettes. The clues will be harder to work out and piece together, the portrait becomes a puzzle to solve.

Research of lighting technique:

Nick Knight:

by Nick Knight (click to see link)

Yohji Yamamoto Red Bustle, 1986 by Nick Knight (click to see link)

Lighting set up

Lighting set up

Above is a fashion shot by Nick Knight, along with a lighting diagram of how I think he set up his lighting. There has obviously been some post production on this image; layering different lighting setups together. However I am most interested in the silhouetted area. I like the crisp dark silhouette, this is something I would like to emulate. I believe that if I set up my lighting in the studio like I have shown in the diagram above (shooting through a white reflector) I will achieve a crisp black silhouette shadow.

Previously in this post I displayed a gallery of images all in circles; this is something that I feel could be visually effective if I specially designed my work for print in a circle. Whilst I am shooting I will keep this in mind, framing my images for this crop.

Diagrams of final photograph setups:

Portrait lighting setup:

lighting-diagram-1368732204

Object lighting setup:
lighting-diagram-1368732060

Possible Finals:

Final Print:

by Jenny Stonely

by Jenny Stonely

Conclusion:

I had to take portrait and object shots to show someone’s personality, to get my creative mind flowing I decided to draw out a spider diagram of my ideas. I then looked at photographers and researched their work, which lead me to the idea of using silhouettes. I challenged the representation of a portrait; the silhouette adds mystery to the images, I illustrated personality through the objects instead. I looked at Yohji Yamamoto Red Bustle by Nick Knight for inspiration, as I wanted to create similar silhouette lighting.

I found the workshops we were given for this task useful, as we learnt the basics of the lighting equipment and their uses, this meant that we could then pre-visualise our photographs and the lighting required. I found blending light particularly useful as the setups we learnt made the photographs come into their own. Seeing the photograph before with just ambient light and after with blended light, made the photograph stand out. I realised the power of pre-visualisation and use of your resources.

I have learnt that lighting setups are not something to take for granted, these images take ideas, planning and ingenuity. There are great  masters at this, such as Nick Knight, one of my personal favourite photographers, his lighting setups and creativity are inspirational.

If I was able to alter the brief I would have taken photographs of 3 people and taken a silhouette portrait and a silhouette object. I like the idea that the viewer can’t quite tell who the people are, and the objects are clues; this would have worked well with different people, rather than just one, as then you could match them up. However I could use this idea in the future and develop it further. However I was unable to alter the brief in this way so I developed the idea of taking 2portraits, and 3 objects as clues.In my work there is an essence of mystery,the viewer is wondering “who is the silhouetted person?”, and then they are given 3 clues to represent that person and their identity. I wanted my work to illustrate the idea of hidden identity in the portrait and displaying it in the objects. Normally people go by what people look like, however I wanted to explore what makes that person who they are, using objects that represent them. I have successfully captured the idea of mystery.

I am proud of my final piece, the images go well together and work collectively as a piece. I think that the circular crops are aesthetically pleasing and give the work an interesting layout. I used similar lighting for all 5 of my photographs this work well as a set/series, as I wanted the light to link the images together. I like the idea that the viewer will have to concentrate on my work, they will have to look closer to figure what the images are of as they are all silhouettes. The clues will be harder to work out and piece together, the portrait becomes a puzzle to solve.

Bibliography of gallery images:

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=hq2kQKlkc8f5TM&tbnid=XHW51GGagh4HJM:&ved=0CAQQjB0&url=http%3A%2F%2Fwww.darlingdexter.com%2Fdarling-dexter%2F2009%2F5%2F26%2Fself-portraits.html%3FcurrentPage%3D2&ei=a5SBUam0LKTF0QWJt4HQBA&bvm=bv.45921128,d.d2k&psig=AFQjCNHfEIoxsTkP4lsjHyYPInZcML-sqw&ust=1367532515997485

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=AAElEFCwAmR2xM&tbnid=LSvGku-NPY44uM:&ved=0CAQQjB0&url=http%3A%2F%2Fwww.masterfile.com%2Fstock-photography%2Fimage%2F618-03571322%2Fclean-pair-of-army-boots&ei=iJWBUaeZO-eX0AWR3YHQBg&bvm=bv.45921128,d.d2k&psig=AFQjCNGpFEAeRPVNpabkTwegm9PgAb7Y0w&ust=1367533267844191

http://www.flickr.com/photos/maddphotography/5099691346/

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=H0z64OuEl5qYsM&tbnid=dQuqIscgTl1XVM:&ved=0CAQQjB0&url=http%3A%2F%2Fmentalmosaic.com%2Fblog%2F2010%2F04%2F02%2Fstill-life-with-toy-soldiers%2F&ei=7JWBUajpPIKq0QWNkoHoBA&bvm=bv.45921128,d.d2k&psig=AFQjCNGpFEAeRPVNpabkTwegm9PgAb7Y0w&ust=1367533267844191

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=RVHlCAOpeLPaQM&tbnid=yYUBQEz3TnfLRM:&ved=0CAQQjB0&url=http%3A%2F%2Fwww.guardian.co.uk%2Fuk%2F2013%2Fmar%2F05%2Fuk-withdraw-troops-germany-2016&ei=R5aBUcmGNIm70QXY34DgBw&bvm=bv.45921128,d.d2k&psig=AFQjCNGpFEAeRPVNpabkTwegm9PgAb7Y0w&ust=1367533267844191

http://www.ehow.com/about_6127316_military-pay-during-basic-training.html

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=thrK5B7-OchayM&tbnid=uING3G6xtzEm3M:&ved=0CAQQjB0&url=http%3A%2F%2Fhamptonroads.com%2F2012%2F12%2Ftale-lost-military-jacket-prompts-curiosity&ei=l5aBUcjXDseo0AW7_4GgCg&bvm=bv.45921128,d.d2k&psig=AFQjCNGpFEAeRPVNpabkTwegm9PgAb7Y0w&ust=1367533267844191

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=ChFIytEKj4QdVM&tbnid=Jvs6SbtwlgswyM:&ved=0CAQQjB0&url=http%3A%2F%2Fjustinelcirullo.wordpress.com%2F&ei=1JaBUdr3E-e30QWN1oCIBw&bvm=bv.45921128,d.d2k&psig=AFQjCNGpFEAeRPVNpabkTwegm9PgAb7Y0w&ust=1367533267844191

http://www.flickr.com/photos/neueradesigns/8522271641/

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=lwprDS-nfNKucM&tbnid=FuVxmL9W3YwEpM:&ved=0CAQQjB0&url=http%3A%2F%2Fwww.takepart.com%2Farticle%2F2013%2F04%2F26%2FPTSD-and-veterans-of-rape-in-the-military&ei=l5eBUdXSOcWJ0AWDrIAI&bvm=bv.45921128,d.d2k&psig=AFQjCNGpFEAeRPVNpabkTwegm9PgAb7Y0w&ust=1367533267844191

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=nPzcY_R9_cRIJM&tbnid=a_VNcnlgbFEytM:&ved=0CAQQjB0&url=http%3A%2F%2Fwww.wired.com%2Fdangerroom%2F2013%2F04%2Fdarpa-infrared-cameras%2F&ei=j5iBUd3fGei80QXX_ICwDg&bvm=bv.45921128,d.d2k&psig=AFQjCNGpFEAeRPVNpabkTwegm9PgAb7Y0w&ust=1367533267844191

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=XQb4QsWKcVwQkM&tbnid=iy-woITuCxi1eM:&ved=0CAQQjB0&url=http%3A%2F%2Fwww.dreamstime.com%2Froyalty-free-stock-images-army-boots-image615689&ei=xZiBUYa6M6ea1AWz0YCADQ&bvm=bv.45921128,d.d2k&psig=AFQjCNE2LaRB9G7oKoo7dprFSJ8k047gGA&ust=1367534145268605

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=LFDMRjCIpxF2jM&tbnid=NYI6zsm8VN6TLM:&ved=0CAQQjB0&url=http%3A%2F%2Fwww.canstockphoto.com%2Fdesert-tactical-boots-and-military-tag-3747999.html&ei=M5mBUYvQOdLw0gWMkYDoDg&bvm=bv.45921128,d.d2k&psig=AFQjCNE2LaRB9G7oKoo7dprFSJ8k047gGA&ust=1367534145268605

http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&docid=-ECI4uqT98hs-M&tbnid=lfkKUuZq1xGv0M:&ved=0CAQQjB0&url=http%3A%2F%2Fwww.canstockphoto.com%2Fcontour-of-military-boots-5218046.html&ei=SpmBUcaoOILP0QWO5YCwAQ&bvm=bv.45921128,d.d2k&psig=AFQjCNE2LaRB9G7oKoo7dprFSJ8k047gGA&ust=1367534145268605

Library Session

Library session:

Link to other pieces of work, themes, or movements

Review and write a critical reflection on this book

-The author and other works

-What was their first project, themes, and ideas, last project before this one

-After this work

-Other practitioners that use that as their subject matter

-publishers theme?

How are those links built, from your work to others work

How do you see you work in relation to the wider field?

Gregory crewdsons work is filmic, there are too many light sources, unnatural,

See example below

Aesthetic and conceptual

-describe the light

-does the light change as we progress through the work or is it constant throughout

-Is the light used in composition? (shadow, used in the frame)

-How does the light affect our reading of the image, and the project

-Does it draw our attention to something or create a mood

Demonstration

-Choose an image to demonstrate and expand on your points previously made

-Deconstruct the frame and the use of light within the frame

William Klein- New york 1954-55

Contrasty- highlight/shadows… the lighting stays fairly constant, highlighting where the focal point of the image is

Taboo Subject-kids with guns

Lighting- image 3- to capture the light leads us from the boy to the gun

Image 7- the light behind the subject brings him out of the image

Draws attention and create a focus to the taboo subjects

The highlights draw the attention to the gun, then your eyes draw backwards, your 2nd thought to the little boys face, we realise its taboo, as it’s a little boy with a gun. It is a innocent action, and little boy playing, however it has a sinister feel, and idea of the future, the boys will think this is normal, is playing with guns okay. The little girl playing in the background shadows tells the viewer it is just play, however the sinister connotations are still there.

Directed study

“You should write aprox 500 words illustrating a 4 degree connection to a body of work that interests you in it’s use/implementation of light. You should start with one of the books presented here in this session and at each degree you should understand the work before looking for connections beyond.”

“(connections themselves do not have to be made based on lighting)”

An example:

“I might start my quest with Gregory Crewdson’s ‘In a Lonely Place’ which explores in part the notion of time, or non-time – which could be taken further looking at the work of Artist Edward Hopper. At this point I may decide that what really interests me about Hopper is his portrayal of the American ideal something that photographer Jeff Brouws comments on in his monograph ‘Approaching Nowhere’, my final connection would perhaps be from Brouws’ images of colourful houses to Todd Hido’s ‘House Hunting’ which features only available light from streetlights and televisions/indoor lights of the eerily quiet houses he photographs.”

Why?:

“In order to take our research to the next level we need to make sure we build connections to other works as references, comparisons and thematic/aesthetic similarities. This short task is intended to help you see and articulate some of those connections”

Library Task Directed Study:

Following the Library session I was set a small task to write a review illustrating a 4-degree connection to a body of work that interests me. This should start with a body of work which uses or implements light. For this reason I have started with the book I looked at in class, “New York” (1954-55) by William Klein. Klein is known for photographing Taboo subjects, I chose to focus on chapter 4, a series looking at children with guns. The lighting for these images were full of contrast, using highlights and shadows through out. The lighting stays fairly constant throughout the work, highlighting where the focal points of the images are. In the fourth image of the series (fig.1) the highlights draw the attention to the gun, then your eyes draw backwards, your 2nd thought is to the little boys face, we realise its taboo, as it’s a little boy with a gun. It is an innocent action, and little boy playing, however it has a sinister feel as it gives an idea of the future, the boys will think this is normal, is playing with guns okay? The little girl playing in the shadowy background tells the viewer it is just play; however the sinister connotations are still there. William Klein uses these lighting effects to draw attention and create a focus to the taboo subjects he has photographed.

Here is a link to a video by “Moms Demand Action For Gun Sense In America”, (http://momsdemandaction.org/moms-demand-action-video/). “Moms Demand Action” is an American Organisation foundered for action to be done now, “formed in the wake of the devastating mass shooting at Sandy Hook Elementary School in Newtown Connecticut”. Their video uses similar lighting techniques for effect; the dark background creates an eerie feel to the video, along with the highlights across the gun, the light hitting and drawing attention to this terrifying weapon. This video uses close up angles to illustrate that this person with the weapon could be anyone, the anonymity of the gunman makes the video sinister and demonstrates the lack of weapon ownership laws. Americans have the right to own a gun; “Moms Demand Action” want to bring in more controlled laws on such weapons, such as “background checks for all gun and ammunition purchases. Report the sale of large quantities of ammunition to the ATF, and ban online sales of ammunition”.

Letizia Battaglia is a photojournalist born in Sicily in 1935. She is most famous for documenting the brutality of the Sicilian Mafia. Her photography links to the subject matter of both the previous photographer mentioned, and demonstrates the chilling truth behind gun crime. Letizia Battalia has often found herself visiting and photographing up to 5 murder scenes a day, “Suddenly,” she once said, “I had an archive of blood”. This image (fig.2) shows the transition from innocent play as a child to something a lot more sinister and serious. The child realizes that it is important to hide your identity, which is why they have covered and distorted their face with material. Perhaps the white jumper illustrates innocents, however the grip on the gun says otherwise.

I chose to look at the painting, “Black Mirror” by David Nipo (fig.3) because of the use of light for effect, hiding part of the face in shadow. I wanted to look deeper into disguise and masking, like the child used in Letizia Battaglia’s imagery, and the idea behind a hidden identity. The lighting from above gives this painting by David Nipo a sinister and mysterious ambiance. The darkening of the eyes and other features forms a shadowed mask to disguise and conceal him. The work reflects the differing personalities and artistic approaches, of Nipo’s and his colleague Aram Garshuni. In this case I think the dark disguise has been used to take away personality.

Having completed this task I can see how research can create connections to other works, drawing comparisons and thematic/aesthetic similarities. It has helped me broaden my researching techniques and ability.  Although my work isn’t designed to look sinister I would like to hide identity using lighting techniques such as silhouetting and shadows, I want my images to be formed of hidden identity portraits, with the clues of the persons personality in the objects I choose to photograph along side.

 

fig.1

by William Klein (click to see link)

by William Klein (click to see link)

fig.2

fig.3

by Letizia Battaglia (click to see link)

by Letizia Battaglia (click to see link)

fig.4

by David Nipo (click to see link)

by David Nipo (click to see link)

(can also be seen in the Task 3 post, See link below)

https://jstonelyphotography.wordpress.com/2013/05/04/task-3/

What is light lecture by Jonathon Shaw

What is light?

Dictionary Def: something that makes things visible or affords illumination: All colors depend on light.

 

(http://dictionary.reference.com/browse/light)

Light is essential to photography

Simple concept and simple ideas

Draw a circle: a round line

Draw a sphere: a round line, with shading to make it 3D

The Camera Obscura

Perspective

This is how photography and the author of an image is important

Used to be that the most important person would be largest: scrolls and cave drawings

Howard Rheingold:

Virtual Reality (1991)

“Chronicled his odyssey in the world of artificial experience, from simulated battlefield in Hawaii to robotics laboratories in Tokyo, garage inventors in Great Britain, and simulation engineers in the south of France”

We are elements in an informational ecology that creates the illusion we call reality. The photons, the light-reflecting properties of the objects we see, the distance between our eyes, the nature of our visual perception system, our parallel data processors and other brain functions still unknown to science, act in concert to weave the apparently seamless cloth of experience.”

The things that we encounter, is relevant to the production of our ideas

This has leads to many things

He was talking about virtual reality and Cave paintings

This was there communication

Theory:

The ability to transform from boyhood to manhood

If you’re in a cave suddenly lighting up parts of the painting on the wall

A transformation of experience

Can have infra red photography, lets us see a different spectrum in that graph

electromagnetic-spectrum1

Xray photography: interested in structure

Have a look at Ted talk

by Nick Veasey (click to see link)

by Nick Veasey (click to see link)

“Nick Veasey”

A stunning short film using light:

by Paul Clipson – Sphinx on the Seine 2008

Gjon Mili

Picasso

Drawing with light

The type and light and type of exposure

Not by the mechanics of the camera, but somehow another time of light has been produced

Merging different lights together

Gjon Mili

Strobe photography, multiple flashes in a long exposure

Furturism:

1912

Marcel Duchamp Nude Descending a staircase

Movement and that transition

Light is the subject

Anthony McCall

“Line Describing a Cone”

On 16mm film he has gradually traces a circle

Suddenly become vary aware

Gradually becomes 3D

An experience

Has become quiet iconic

Sky Space by James Turrell

What is the experience you want to generate in this person?

“Rather than being a journal of my seeing, it is about your seeing… I would just like to take you and put you in…”

A simple idea of a Camera Obscurra and being a tiny aperture it can become…

Roden Crater Project

Eadward Muybridge

by Eadward Muybridge (click to see link)

by Eadward Muybridge (click to see link)

Changed how we see the world around us

This is important

Now we know what is inferred we cant help but to re-animate it

Invisible Worlds- Eadward Muybridge

Dir.Frank Budgen, Time Slice by Tim MacMillan

Bullet Time- The Matrix (gives you the idea of someone being frozen)

Etienne-Jules Marey

Wasn’t interested in the aesthetic of photography

But interested in the science of how people move

Thomas Ekins

Harold Edgerton

“MIT”

Dir. Nick Knight

Segmentation of time

Anton Giulio Bragaglia

“Depict movement as an indivisible reality, rather than a sequence of static poses…We are not interested in the precise reconstruction of movement, which has already been broken up and analysed. We are involved…”

As a sensation

Dir. Chris Cunningham

Fusion of time slides, blur and movement to explore something more

Like a Rolling Stone 1995 Dir. Michel Gondry, Photography Andy Earl

Almost first time this technique was seen

Jonathon Shaw

1993

Birmingham Royal Ballet

Linear images

Engagement with your technologies

Relationship and transformation that can take place

 

Interpretations of an idea